T: Miss Sophia Campbell
Bc|:d3 g3|dBG Bcd|c3 =f3|cA=F ABc|
d3 b3|agf gfe|dcB AGF|G3 GBc:|
|:d3 dBG|dBG Bcd|c3 cA=F|cA=F ABc|
[1 d3 dBG|dBG gfg|dcB AFD|DG2 GBc:|
[2 d3 b3|agf gfe|dcB AGF|G3 G||
Also known as Miss Sophia Campbell Of Saddell’s, Miss Sophia Campbell Of Saddell’s Reel, Mrs. MacGee, Mrs. McGee, Mrs. McGhee.
There are 11 recordings of this tune.
Miss Sophia Campbell has been added to 2 tune sets.
Miss Sophia Campbell has been added to 2 tunebooks.
This transcription is of Angus Chisholm’s setting on the “Early Recordings” LP. He plays it as the second of two tunes in a set of two Gmaj jigs that begins with Chisholm’s own (also popular) composition titled “Tea Gardens.”
From the Traditional Tune Archive:
“Composed by Robert ‘Red Rob’ Mackintosh and first printed in his 1796 collection of tunes. Originally a minor-key tune, a Cape Breton ‘double-tonic’ version in G has been circulating since the 1950’s when it was recorded (under the title “Mrs. McGee”) by fiddler Angus Chisholm (Cranford). The melody remains one of the more popular of MacIntosh’s compositions on Cape Breton.”
From Alan Snyder’s Cape Breton Fiddle Recording Index:
Some other recordings of this tune from Cape Breton artists include:
— Troy MacGillivray, on “Boomerang” ( https://thesession.org/recordings/702 )
— Alex Francis MacKay, on “A Lifelong Home” ( https://thesession.org/recordings/2105 )
— Buddy MacMaster, on “Cape Breton Tradition” ( https://thesession.org/recordings/2207 )
— on the Nimbus Records “Traditional Music from Cape Breton Island” recording made during the 1993 Cape Breton Island Festival at University College in Cork ( https://thesession.org/recordings/1080 ) – For this track, the inimitable Hilda Chiasson plays piano for an all-star “Cape Breton Symphony” consisting of fiddlers Jerry Holland, Dougie MacDonald, Howie MacDonald, Dave MacIsaac, Carl MacKenzie, Buddy MacMaster, Natalie MacMaster, John Morris Rankin, and Brenda Stubbert.
I have been reading this tune off the sheet music and- far be it from me to criticize- but that B natural in the 2nd and 5th lines just seems wrong to me in the context of the overall tonality of the tune. And when i play the audio it sounds out of place. I want to play it as a Bflat. Any thoughts, anyone?
I think they both work, bschill.
You can see the original, in Gm, in Ben Robinette’s first link (TTA) and I would suspect that it is that setting that Pete Clark recorded on “Mackintosh at Murthly”.
Interestingly, though most Cape Breton recordings are the G double tonic setting, Gordon Coté, recorded the tune in Gm.